AN AGE OF DANCING.

Hauraki Plains Gazette, Volume XXXVII, Issue 5000, 14 July 1926, Page 3

AN AGE OF DANCING.

PLEA FOR THE WALTZ. We are living in an age of dancing. Everywhere there is dancing. Everyone dances. The value of. dancing is universally appreciated. The value of regular exercise f°r town workers is fully Rhythm is ap essential ; in rowing, golf, cricket, in every sort of game rhythm is needed. We. talk of the need for regular sleep, legular meals, regular work; all this may be summed up in one word — rhythm. Educational authorities are realising the importance, of rhythmic exercises. While we are enjoying ourselves in the ballroom we are, or should be, moving to definite rhythm. An age of dancing means an age of health, an age. of young people, able to walk well with the tree, swing that results from a, good balance and poise (writes H. St. John Rumsey in the Daily Chronicle). An age of middleaged people displaying the grace of youth; an age of elderly people keeping their- activity and taking a share in a form of exercise the value of, which was fully realised by the ancient Greeks, who made dancing a definite factor in athletic training. One thing is to be. avoided as likely to hinder the progress of good dancing, that is monotony. When monotony is felt, interest wanes in spite of the indisputable claims of dancing as a.n art a,nd’ as being beneficial to health.

Now, there is a tendency towards sameness in our dance programmes. The usual procedure is to start with a-one-step, followed by an hour ot continuous fox trots, before the; chain is broken by a waltz or a tango. The inclusion of the wa.ltz at frequent intervals would break the monotony which is felt ife the fox trots are. played fc-r an hour with no variation of rhythm. The waltz’s claim for recognition, if ohly for the sake, the variety it offers, is beyond dispute. It is the only modern dance which has a rhythm in distinct contrast witn all the other da.nces, which come under the heading of the “walk”, or “even” rhythm, for it must be noted that the fox trot is written' in 4-4 time, the one step in 2-4, and the tango in 2-4 ; on the other hand, the waltz is totally different, being written in ah uneven rhythm.

Again, the waltz has a strong claim on the expetr dancer, whose dancing education is incomplete until he has learned to adapt his skill, exhibited in his body movement and footwork, to different rhythms. Lastly, the waltz has its claim on the ■ general dancing p.ublic, who, while fe.eling the attraction of the lilt, have insufficient opportunities at. present for perfecting their'steps and movement,, so that they may be enabled to .interpret the waltz rhythm adequately. There is no doubt tha,t the waltz he,s been rather unfairly crowded out of our dance programmes, during the last few years. It is for this reason that I venture to bring iforwtard some argumemnts to uphold the claims of the. waltz, which enjoyed a well deserved popularity for more than 100 years.